Digital, interface & post-cinema
Seung-hoon Jeong
Uses the quasi-interface to locate crystalline relations in screens-within-screens, digital surfaces, object networks, and layered interfaces beyond mirror imagery.
Major works
- 01Cinematic Interfaces
Atlas further reading: debates
Do not treat digital technology as an automatic new image-regime; test how interfaces, brain–screen relations, and irrational cuts alter the production of time.
Taxonomy or generator?
Fixed labels invite mere example-hunting; an open taxonomy requires new concepts to transform existing relations and explain across cases.
Does the digital require a Cinema 3?
The neuro-image, no-time-image, and interface theories test the boundary, but no third regime has achieved consensus.
How does temporal rupture become political?
Test non-linearity through rights to see, the distribution of waiting, and ownership of the past; its effects can include nostalgia, trauma markets, control, or paralysis.
Atlas further reading: concepts and films
Related concepts
- Noosignnoosigne
Does the image merely present a puzzle, or does it undo an established whole of thought and force thinking to face the Outside, the unthought, and its own powerlessness?
→ - Body / braincorps / cerveau
First state whether the analysis concerns body or brain: how does an attitude bear time before story, or how do cinematic connections organize space, probability, and disjunction into a map of thought?
→ - Irrational cut / intersticecoupure irrationnelle / interstice
Does this cut conceal an ellipsis, or produce an irreducible relation?
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Related films
- 2001: A Space Odyssey1968 · Stanley Kubrick / 斯坦利·库布里克
Space becomes a topology of the brain; HAL and humans mirror one another across automatism, choice, and thought’s impotence.
→ - Mulholland Drive2001 · David Lynch / 大卫·林奇
Identity, performance, and memory rewrite one another. Criterion: an actual/virtual circuit.
→ - Black Swan2010 · Darren Aronofsky / 达伦·阿伦诺夫斯基
The rehearsal mirror first corrects Nina's body, then reflections hesitate, slip out of phase, and even move before she does. The mirror no longer confirms a whole self; it compresses Nina and Lily, White Swan and Black Swan, into one body. Scratches, feathers, toes, and stage transformation are therefore more than illustrations of subjective hallucination: actual and reflected bodies rewrite one another, filming 'becoming the role' as a circuit that produces the performer in return.
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